Category Archives: Art and Sculpture

If I had £5,000 to invest what would I buy?

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Jonathan Horwich
Modern & Contemporary Art Specialist

I would spend my £5,000 on a limited Edition by the Japanese Contemporary artist Yayoi Kusama (born 1929).

I would choose one of her objects series, perhaps a Tea Set (below), or a group of mini pumpkins (opposite). They are all colourful, tactile, fun, attractive, look great on display and invite curiosity. Plus, they offer an investment opportunity, as Kusama’s work has an international appeal and great originality. Not only is her work recognisable, but it also proves to be a strong international brand.

Her work comes up for sale all the time, is widely available and sells well around the world. This is of key importance with art investment; the more countries you can sell in the better your chances are of some financial uplift on your purchase price.

I have chosen a few examples which I would buy in a heartbeat.

If I had £5,000 to invest what would I buy?

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£5,000 to buy art – sounds wonderful, doesn’t it? It is certainly a decent chunk of change to play with – large enough to focus the mind and to open the possibility of buying something a little bit more special than a decorative wall filler. Conversely, the moment one starts looking at works in a slightly higher price bracket, and by artists who have more pedigree, suddenly £5,000 doesn’t seem that much at all! A strategy is, therefore, needed if the canny buyer is to maximise their buying power.

For me, if I had £5,000 to spend on one artwork, I would adopt a twofold approach – firstly I would look to buy as good a work on paper as I could find by an artist whose work I loved, but whose paintings are out of my reach. Secondly, in order to maximise my buying power, I would concentrate my search entirely on the auction market rather than buying from a retail gallery. Buying from auction can take a little more time, and it needs a little more research by the collector, but it often allows one to buy works considerably cheaper than retail level. As a famous supermarket says – every little helps!

The artist I would buy with my £5,000 is an artist who I think is significantly undervalued in the current market, both in terms of his talent as well as in comparison to the values many of his contemporaries achieve. Keith Vaughan is a relatively overlooked Modern British artist who was born in 1912 at Selsey Bill in Sussex. He was a self-taught artist with no formal instruction in art, yet he went onto forge a highly individualist and distinctive career which has until fairly recently has been overshadowed by the giants of his generation – Henry Moore, Barbara Hepworth, Terry Frost, Ivan Hitchens etc.

Vaughan started his career as a commercial artist when he was apprenticed at the Lintas advertising agency, from which he gained an understanding of composition and form – both essential skills in commercial art. From 1939, after he left Lintas, Vaughan became a full-time artist. With the outbreak of World War II, Vaughan declared himself a conscientious objector and joined the St John Ambulance; in 1941 he was conscripted into the Non-Combatant Corps.


During the war Vaughan formed friendships with the painters Graham Sutherland and John Minton, with whom after demobilisation in 1946 he shared premises. Through these contacts he formed part of the neo-romantic circle of the immediate post-war period. However, Vaughan rapidly developed an idiosyncratic style which moved him away from the Neo-Romantics. Concentrating on studies of male figures, his works became increasingly abstract.
Vaughan worked as an art teacher at the Camberwell College of Arts, the Central School of Art and later at the Slade School.

Throughout his life, Vaughan’s struggled with his own internal demons. Keith Vaughan was a gay man living in a time when homosexuality was illegal and actively frowned upon by Society. His struggle with his sexuality is reflected throughout his work and in his source of subject matter. Studies of figures and male nudes feature heavily in his work, although they are simplified and abstracted showing the influence of both international Modernism, Cubism his love of ballet and dance. Vaughan suffered from habitual depression and alcoholism, which eventually resulted in his suicide in 1977.

One might be forgiven for thinking that in light of all this Vaughan’s work would be negative and dour, however, this is wrong. As is often the case, personal struggles can produce works of great sensitivity and subtly. Vaughan’s work has a graphic quality that is softened by the use of a very sophisticated colour palette. They are very beautiful, elegant images.

The commercial art market has begun to reflect the increasing interest in, and appreciation of Vaughan’s work, with good examples now regularly achieving six figure sums at the auction. His works are also appearing more frequently at high end art fairs, where wall space has a commercial value, and a dealer’s decision to show a Vaughan instead of another artist is a calculated strategy, and one that reflects growing demand.

And yet, even with this increased visibility Keith Vaughan’s work is still undervalued in relation to many of his contemporaries, and it represents significant investment potential. His drawings in particular are surprisingly accessible financially and it is entirely possible to buy lovely pencil or pen and ink studies for a thousand or two, sometimes less; and more important, finished watercolours and gouaches can be bought within our £5,000 budget at auction.

How long this relative accessibility will last, I cannot say, but in my opinion now is definitely the time to buy Keith Vaughan’s work if like it and respond to it. Clearly, as always, liking an artist’s work is the primary reason for buying it, but it’s always nice to have a healthy upside too.

Affordable Modern Masters

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Article by Jonathan Horwich

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Lucian Freud, Francis Bacon, Pablo Picasso, David Hockney, Pierre Auguste Renoir are just a few of the Titans of Modern Art. They all have stellar international reputations, with their finest works being fought over by mega-collectors worldwide and making millions.

This leaves us mere mortals, who might aspire to own a work by any of these greats, without hope; the assumption being that price precludes ownership. Thus, collectors may totally discount the possibility of acquiring anything at more affordable prices.

However, there are buying opportunities out there for all of these artists which may not seem immediately obvious. When faced with astronomical prices for finished major works, collectors should be encouraged to look below the surface for less apparent opportunities…

For example, during Francis Bacon’s early career in the 1930s, he worked as a commercial furniture and rug designer. After the war he emerges as the great painter we know today, and of course his paintings are now out of financial reach to the masses. However, his rugs, although expensive, and his much cheaper surviving pieces of furniture, offer some buying opportunities, (no.’s 1-2). As do his limited-edition prints, each one is signed by him, even all three works in a Triptych, (no.’s 3-5).

Following this theme, I looked for more affordable pieces. Among my favourite finds is no. 7, Lucian Freud’s artist’s palette. It is one he actually used and still has all his signature colours. Equally, Freud’s etchings are accessible and affordable and they are a direct link to his skill as a draughtsman. The process of making an etching involves the artist drawing his subject direct onto the printing plate, and so is only one step away from an original drawing in my mind.

I think David Hockney offers us the greatest number of different buying opportunities, from faxes, to iPad drawings, to office-made, limited-edition ink jet prints and he is still finding new ways to make art, which at 83 is truly remarkable!

 

 

 

Sir Winston Churchill (1874-1965) – Painting as a Pastime

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Jonathan Horwich, Modern Art Specialist

It’s 1915 and the First World War is raging. Winston Churchill, now aged forty, was in the thick of the fighting, leading his men at Ypres. It was while resting behind enemy lines at Ploegsteert, nicknamed ‘Plug Street’ by the Tommies, that he first picked up a brush to paint for the first time. His reasons for doing so are most eloquently expressed by Churchill himself in the introduction to his book ‘Painting as a Pastime’ first published in 1947.

Image of painting by Winston Churchill, Plug Street, 1915

Plug Street, 1915. Oil on canvas. 51 x 60 cm
Painted during WW1 while Churchill was resting with his men behind the battle lines at Ploegsteert near the front at Ypres.
In the National Trust collection at Churchill’s home , Chartwell, Kent

“Happy are the painters, for they shall not be lonely. Light and colour, peace and hope, will keep them company to the end, or almost to the end, of the day. To have reached the age of forty without ever handling a brush or fiddling with a pencil, to have regarded with mature eye the painting of pictures of any kind as a mystery, to have stood agape before the chalk of the pavement artist, and then suddenly to find oneself plunged in the middle of a new and intense form of interest and action with paints and palettes and canvases, and not to be discouraged by results, is an astonishing and enriching experience. I hope it may be shared by others. I should be glad if these lines induced others to try the experiment which I have tried, and if some at least were to find themselves dowered with an absorbing new amusement delightful to themselves, and at any rate not violently harmful to man or beast.”

The Loup River, Alpes Maritimes 1936 by Sir Winston Churchill 1874-1965

THE LOUP RIVER, ALPES MARITIMES, 1930. Oil on canvas. 20 1/8×24 (51·5×61). Presented by the artist 1955. Exh: R.A., 1947 (174); R.A. Diploma Gallery, March–August 1959.
The picture was painted in 1930, and the site lies about five hundred yards from where the main Cagnes to Grasse road crosses the river.
It was one of the two pictures Churchill exhibited at the R.A. in 1947 and were submitted to the Selection Committee under the name ‘David Winter’.

Churchill soon found that watercolours were not his ideal medium, and instead switched to the more robust medium of oil paint – as ‘you can more easily paint over your mistakes’. Early encouragement came from an amateur prize he won for “Winter Sunshine, Chartwell,” a bright reflection of his Kentish home. Also, under the pseudonym Charles Morin, he sent five paintings to be exhibited at the Paris Salon in the 1920s, where four were sold for £30 each. However, making money was not the incentive, then or ever. It was simply the sheer delight of painting that accounted for Churchill’s devotion.

Image of painting by Winston Churchill, Tower of the Koutoubia Mosque.

Tower of the Koutoubia Mosque. Signed with initials ‘W.S.C.’ (lower right). Oil on canvas. 45.7 x 61 cm.
The world auction record holder for Churchill sold on behalf Angelina Joli for £8,285,000 in January 2021 the only painting Churchill completed during WW2 and gifted to President Roosevelt, probably the most historically Important picture by Churchill.

He readily received tuition and guidance from some of the leading artists of the day such as Sir John Lavery, Sir William Nicholson and Walter Richard Sickert. This led, in 1947, to the then president of the Royal Academy, Sir Alfred Munnings, suggesting Churchill submit two works to the annual Summer Exhibition. Churchill was eventually persuaded, on the proviso that they be submitted under the pseudonym of David Winter. Both pictures were accepted, with one being acquired later for the National Collection by the Tate. A few years later during the first post-war Royal Academy Dinner in 1949, Churchill was made an Honorary Academician (Hon, R.A), the first and so far, only person to be awarded this honour.

Image of painting by Winston Churchill, JUG WITH BOTTLES

JUG WITH BOTTLES, signed W.S.C. (lower right). Oil on canvas board. Unframed: 51 by 35.5cm.; 20 by 14in.
Painted at Chartwell sold in Nov 2020 for £983,000

Churchill had a true craftsman’s dedication to his art and readily accepted the advice to visit Avignon and later the Cote d’Azur where he discovered artists who worshipped at the throne of Cezanne. He also acknowledged the inspiration he derived from his many visits to Marrakech, Morocco.

Image of painting by Winston Churchill, MIMIZAN

MIMIZAN, signed with initials. Oil on canvas, 56.5 by 36cm.; 22¼ by 14in. Executed circa the 1920s
SImage of painting by Winston Churchillold June 20128 for £430,000
Gifted by the Artist to Field Marshal Viscount Montgomery of Alamein in 1950

Churchill sought and found tranquillity in his art. His much-quoted words, summing up his expectations of celestial bliss; “When I get to heaven, I mean to spend a considerable portion of my first million years in painting, and so get to the bottom of the subject…”

Image of painting by Winston Churchill, THE SCUOLA DI SAN MARCO VENICE

THE SCUOLA DI SAN MARCO VENICE, signed with initials. Oil on canvas, 50.5 by 61cm.; 20 by 24in. Executed in 1951.
Churchill loved Venice, he spent his honeymoon there in 1908, this picture was painted on a family holiday at the Lido in 1951.
Sold Nov 2015 for £500,000

By far the best and most enjoyable way to get to know the man and his art is to visit his beloved Chartwell in Kent. Now owned and run by the National Trust, Churchill’s paintings and artefacts are all around the house, but for me the revelation is the Garden studio which is full of Churchill’s paintings, hung corner to corner almost, with his paints, brushes and easel all set out as if he were returning shortly… not to be missed!

Image of painting by Winston Churchill, View of Blenheim Palace through the branches of a cedar

View of Blenheim Palace through the branches of a cedar. Oil on canvas. 61 x 51 cm
A view of Churchill’s childhood home painted in 1920 and gifted to Churchill’s daughter Mary Soames, and sold from her estate collection sale in December 2014
for £566,000

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Looking for Lowry

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By Jonathan Horwich, Modern Art Specialist

L S Lowry, (1887-1976) is perhaps our most famous English painter of the 20th Century. Certainly, if you were appearing as a contestant on ‘Pointless’ then good luck trying for a pointless answer by naming Lowry as your answer in any question category! Most people in the UK today, young or old, and for some reason mostly male, will in some way or other have heard of Lowry.
As a Victorian, born in Manchester in 1887, he was the only child of Robert and Elizabeth Lowry. It seems he was always a disappointment to his mother, who really wanted a girl. Early photographs show him still wearing girls’ clothes aged 4 or 5. He also wanted to be an artist, which was yet another disappointment to his mother.
However, as the Lowrys were not wealthy enough to support the family, he was thwarted by having to work full time at his father Robert’s work place. This left no time for painting in the day, leaving him only the evenings to study, so that is what he did. Always older than everybody else, it took him the best part of 20 years to fully qualify. Even then, (although he never admitted it to anybody he knew), he had to continue to work full time, Monday to Saturday, and so only painted at night for many, many years. Indeed, probably through habit he continued to do this his whole life.
He was at his most productive after he retired from the Pall Mall Property company in 1952, when at least he had the whole day at his disposal. He was by then famous for his Industrial Landscapes which he began painting in the 1920’s. On retirement, he was keen to move on but inevitably his collectors still mostly wanted his ‘Industrials’.
He switched to a lighter, brighter, whiter, palate by the early 60’s and began to make small, quickly painted pictures, mainly with people and animals.
He has always been a popular artist at auction and as early as 1964 pictures were reaching record sums of near to £2,000, a very significant sum back in the day. His exhibitions in London at the Lefevre gallery were always a sell-out and so now prices for even small, genuine drawings and sketches are out of the reach for many collectors.
Limited edition prints had been around since the beginning of the 20th Century, with artists such as Picasso and Henry Moore signing limited editions of their printed work.
Lowry became involved in the late 60’s and early 70’s, signing everything personally. It is these that offer the new collector at least an entry level starting point as a collector. Generally speaking, the price range runs from £2,000 up to the dizzy heights of £20,000 for particularly rare examples.
This article gives a brief introduction to the 25 to 30 different signed prints by Lowry that are still available. They regularly come up for auction and are available in private galleries all around the UK. As they are multiples, they are a bit like buses – if you miss one, there will be another along soon. Hence, there is no need to jump in quickly. If this is something that you want to get involved with, see what’s out there and then dip your toe in the water .
Things to watch out for are – condition and colour, (some prints fade if they’ve been in strong sunlight), and avoid stains and rips. Good luck and enjoy the process!
LS Lowry (1887-1976)
1-3 are all original Lowry paintings

Station approach Manchester print

 

1) Going to the Match, 1953
Signed, oil on canvas, 71 x 92. This is an image of the original oil bought at the 1997 auction by Graham Taylor on behalf of the Professional Football association pension fund, it’s now on view in  the Lowry Salford
Original oil painting, Sold at auction for £1,926,500 in 1997

Station approach Manchester
2) The original Lowry painting Station Approach, Manchester 1960, oil on canvas, 76 x 101 cm
Sold for £2,322,500 in 2014

Punch and Judy
3) The original Lowry painting Punch and Judy. Signed and dated 1943, Oil on canvas, 41 x 56  cm
This original painting has changed hands multiple time since it first came up for auction in 1995 when it made £152,000, last time it sold was in 2019 when it made £611,000
Sold for £962,500 in 2014

The following are all signed limited edition prints of various original Lowry pictures and drawings

Going to the match
Going to the Match, 1953. Signed Colour print from an edition of 300, 56 x 70 cm
While the price paid for the original is not the record price the print version is the top priced Lowry print! It is to do with the subject, ie football and the fact that there were only ever 300 produced
£20,000 in 2020
£18,000 in 2015

Station approach Manchester print
Station Approach, Manchester. Signed colour print from an edition of 850, 40 x 50 cm
£3,187 in 2020
£3,100 in 2015

Punch and Judy print
Punch and Judy. Signed colour print from an edition of 75, 44.5 x 68.5 cm
Prices go down as well as up, the price for this particular print has gone down since 2015…
£5,062 in 2020
£8,100 in 2015

Britain at play
Britain at Play. Signed colour print from an edition of 850, 47 x 60 cm
£4,200 in 2021
£2,500 in 2015

Fever van
Fever Van. Signed colour print from an edition of 700, 45 x 54 cm
£4,800 in 2021
£2,500 in 2015

The Pond
The Pond. Signed colour print from an edition of 850, 45 x 58 cm
£4,000 in 2021
£2,200 in 2015


Market Scene in a Northern Town. Signed colour print, 46 x 60 cm
£5,000 in 2021
£2,700 in 2015


Man Lying on a Wall. Signed colour print. No 479 from an edition of 500, 40 x 50 cm
£7,200 in 2020
£6,000 in 2015

Group of Children
Group of Children. Signed colour print from an edition of 850, 18 x 19 cm
£3,825 in 2020
£1,800 in 2015

The Contraption
The Contraption. Signed Colour print from an edition of 750, 31 x 30 cm
£4,000 in 2020
£2,100 in 2015

Great Ancoats Street
Great Ancoats Street. Signed b/w print, from an edition of 850, 26 x 36 cm
£2,800 in 2020
£1500 in 2015

Salford Viaduct
Salford Viaduct. Signed, monochrome, lithograph from an edition of 75, 52 x 64 cm
£7,000 in 2021
Rare print, only two have been offered at auction, one sold for £6500 in 2016

Deal Beach sketch
Deal Beach, sketch. Signed colour print from an edition of 850, 26 x 50 cm
£5,000 in 2019
£3,500 in 2015

Burford Church
Burford Church. Signed colour print from a numbered edition of 850, 60 x 45 cm
£2,200 in 2020
£3,100 in 2015

A street full of people
A Street full of people. Signed b/w print from a numbered edition of 75, 62 x 97 cm. This particular print is no 2/75 and was embellished in blue crayon by Lowry himself which doubled its price to £20,000!
£10,000 in 2020. It’s a rare print only 5 have come up, one made £800 in 2012

Mrs Swindell's picture
Mrs Swindell’s picture. Signed colour print from an edition of 850, 40 x 30 cm
£3200 in 2020
£1600 in 2015

The football match
The Football Match. Signed and numbered black and white print from an edition of 850, 26 x 36 cm
£5,737 in 2021
£4750 in 2015

Three men and a cat
Three Men and a cat. Signed in blue biro, colour print, 25 x 17 cm
£3600 in 2020
£1800 in 2015

His familiy
His Family. Signed colour print from an edition of 575, 54 x 72 cm
£1785 in 2020
£1600 in 2015

The Secrets Revealed by the Back of Pictures

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By Jonathan Horwich, Modern Art Specialist

Next time you’re watching the Antiques Roadshow, look carefully to see what each of the different specialists do when they first examine a new item.

The jewellery specialists will get out their ‘loop’ (a small high magnification eye glass) and examine the setting, the stone its colour, light reflection, hallmarks and all the other little details of interest to them; the furniture specialists will crouch down on hands and knees to look underneath or pull out the drawers to rummage inside; the ceramic specialist will pick up the piece, turn it upside down and go straight for the base to look for marks and stamps and other clues.

The picture specialists have a similar routine. First a glance at the front and then flip it over to look at the back (size allowing). To the uninitiated it may look like they have hardly glanced at the front. So, what are picture specialists looking for? Well, there could be a whole host of things back there such as: if a picture has been re-framed there might be a sticker or a note left by the framer saying what was done and when. In some cases, it may have been exhibited and there may be exhibition labels pasted on the back of the picture. As dates and locations are usually included, this can help lead to identifying whether or not it is a more or less important work. It may have been bought from a commercial gallery and the quality or value may depend on the gallery it came from. There could have been restoration work carried out on the picture and or notes or labels that may give a hint or indication of where and it when it might have been repaired.

I have often heard the phrase ‘it’s got a very good back’ said about a picture with lots of labels. Certainly something attached to the back of a picture will rarely be removed once there, so it often feels like walking through history when looking at the back of a well labelled picture. It probably doesn’t make any sense if you’re not used to it, but it makes perfect sense if you spend your days looking at pictures. I have even seen specialists look at a photograph of a picture and then out of habit, turn the snap over to look at the back for anything interesting!

I thought it might be helpful just to share a few examples of the backs (and fronts) of some pictures and works on paper that I have seen myself. I also try to explain a little bit more about what I’m looking for, what we are seeing and what conclusions if any, we are able to draw.

L S Lowry (British, 1887-1976)
Children Walking up steps
Oil on board, 25 x 35 cm
Estimate, £150-250,000
From the Artist’s estate
Not signed or dated
Sold £137,000, March ‘21

Reverse of Children Walking up steps
Showing top left exhibition label for Crane Kalman London top left. Bottom centre, loan label for The Lowry Salford

L S Lowry (British, 1887-1976)
Broken Shop Window, 1950
Signed, Pastel, 27 x 37 cm
Estimate £35-55,000
Sold £50,000, March ‘21

Backboard of Broken Shop Window; the green label says NAN, code for Christies Cheshire office, and has Christie’s London address, it shows the work was consigned for sale from an owner in or near Cheshire. In white chalk a previous Christie’s sale date, lot 301 8/Jun/90. Black stencil KKS69, this is unique to Christies, London

Victor Pasmore ( British, 1908-1998)
Abstract, 1951-52, 68 x 83 cm, Oil on board
Estimate £60-80,000
Sold £72,750, Nov ‘20

Photo showing the back of above picture

Magnification of labels on the back see this label for an exhibition at a Jonathan Clark’s London Gallery…. No date probably circa 1990- 2000

Owner’s own label, Sir Martyn Becket’s

Carriers label name on label
Rob Oakden
Not significant

Arthur Tooth, a major London gallery label date, circa 1950’s stock no Cl 686

Arts Council 1980 exhibition label catalogue no 22

David Bomberg ( British, 1890-1957)
Old City and Cathedral, Ronda. 1935, signed lower left, oil on canvas, 64 x 76 cm
£400-600,000
Provenance Asa Lingard, Bradford
Sold £790,750

View of the back of Old City and Cathedral, Ronda, it’s all very original with its original canvas no labels evident so look for any writing on the canvas or wooden stretcher

Spotted some writing top left hand corneron the wood , it says ‘ Ronda, David Bomberg, Spain 1935. Possibly the artist’s hand writing or maybe a previous owner?

More writing top centre , it says ‘Richard Cork says Cuenca‘.
Richard Cork is the authority on Bomberg. This is in biro circa 1980’s so not the artist. Cork changed his mind to Ronda near Malaga.

Centre right, ‘Property of Mrs Nimmo‘ a previous owner again in biro so not Bomberg.

William Roberts (British, 1895-1980)
Women playing with Cats
1919, Signed. Pen ink and watercolour, 29 x 20 cm
£150-250,000
Sold £325,250, Nov ‘20

Back of Women playing with Cats; a great looking back.
Top a label for a show at Tate Britain in 1956, catalogue no 186, it then toured the UK.
Also showing the owners name at the time, Michael Tachmindji.
Hamet Gallery label, Feb 1971, very well known and respected gallery, sold by them to another owner. Arts Council label, they organised the Tate Show and its tour around the UK.

The cut out in the backboard shows the title inscribed on the back of the work itself, written by the artist ‘Women Playing with cats’

Ben Nicholson (British, 1894-1982)
Two Forms
Oil on board, 23.8 x 21.6 cm
Estimate £70-100,000
Sold June ‘18, £193,750

Back of Two Forms. See shipping label and owners name Mr Wright Luddington, who bought the work at the Lefevre Gallery London. See Lefevre gallery label underneath. See writing in pencil top centre, Two Forms, Ben Nicholson 1947, this is all the artist’s writing.

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African, Modern and Contemporary Art

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cotswolds

Jonathan Horwich

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Collectors are always on the lookout for new opportunities and in a brilliant piece of rebranding over the last couple of years the old style South African Art auctions have re-emerged as a new category known as African, Modern and Contemporary Art.

Ben Enwonwu
Tutu, 1974, oil on canvas
Bonhams, London, Feb 2018. Estimate 200,000 – £300,000, sold for £1,208,750
Auctions now take place in New York and London and the rebranding has widened the catchment area to the whole of Africa, while at the same time still retaining the big hitters such as Irma Stern and Ben Enwonwu , the auctions now include many new artists or previously neglected artists from across the Continent of Africa. Looking around at the current International contemporary sales in all the main sites, some African artists such as El Anatsui have already broken through to the mainstream market. However the vast majority of artists are at a very early stage so it’s still possible to support and spot new stars and over the next 5 to 10 years I would expect to see many more cross over into the mainstream Contemporary auctions.

El Anatsui
Recycled Dreams, c2005. Found aluminium bottle caps and copper wire.
Christies, New York, Nov 2018, Estimate 700,000 – 1,000,000 USD, sold for 1,512,500 USD
Here are a few examples from recent sales and it’s encouraging to note that the price range is wide and the choice of work is vast, all the way from £2,000 to £2 million and there is plenty of work available at entry and all levels in every sale, the volume of art being produced by this vibrant and vast Continent is more than enough to satisfy even the most enthusiastic collector.

Billie Zangewa
The Cotswolds, 1973. Embroidered silk.
Aspire Art Auctions, Sept 2019, Estimate 9,800 – 16,400 USD, sold for 14,987 USD
Covid has brought us many challenges and the world of auctions and galleries have responded brilliantly to the call for greater visibility about what is available to buy .

Chéri Samba
J’Aime la Couleur, 2005. Acrylic and glitter on canvas.
Sotheby’s London, April 2019, Estimate £40,000 – £60,000, sold for £93,750
So now It’s super easy to browse to find what appeals to you. It’s easy to follow the sales and bid online, take your time before buying, and I think you will learn and enjoy!

Ibrahim El Salahi
Standing Figure. Pen and Ink.
Bonham’s London, March 2019, Estimate £15,000 – £20,000, sold for £50,062
Some artists to look out for are:
El Anatsui , Ben Enwonwu, Gerard Sekoto, Ibrahim El Salahi, Yusuf Grillo, Demas Nwoko, Skunder Boghossian, Malangatana Ngwenya, Iba N’Diaye, Papa Ibra Tall, Sam Ntiro, Uzo Egonu, Uche Okeke, Bodys Isek Kingelez, Njideka Akunyili Crosby, Eddy Kamuanga Ilunga, Pascale Marthine Tayou, Irma Stern, Nicholas Hlobo, William Kentridge, Chéri Samba, Billie Zangewa, Abdoulaye Konate, Ouattara Watts.

Gerald Sekoto
Cyclists in Sophiatown. Oil on canvas board.
Sotheby’s London, October 2019, Estimate £250,000 – £350,000, sold for £362,500
Artists hail from Angola, Benin, Congo, Côte d’Ivoire, Ethiopia, Ghana, Malawi, Mali, Morocco, Nigeria, Senegal, South Africa, Sudan, Tanzania, Uganda, Zimbabwe and other countries in Africa.

Artists to Watch in 2021

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Jonathan Horwich,Modern Art Specialist

Some new or not so well known artists who have all outperformed auction expectations during 2020.
The advent of online only sales and bidding has not only broadened the International reach of Contemporary art auctions but also spawned new trends that have moved more quickly and been much more noticeable, especially in the Contemporary day sales which have often been overshadowed by the evening auctions. This makes the day sales even better hunting grounds and barometers of who is hot or not. Early evidence of up and coming artists is seen when their hammer prices hurtle past their high estimates many times over.
Here are a few of the artists who exceeded expectations at day sales during Covid restrictions in 2020. I think they are all ones to watch and may well appear in an evening sale soon!
Matthew Wong, River at Dusk, (2018)
Matthew Wong River at Dusk
Matthew Wong (Canadian, 1984-2019)
River at Dusk, 2018, oil on canvas, 203 x 178 cm
Offered at Phillips Hong Kong, December 3, 2020, estimate 7-10 million HKD sold for 37,760,000 HKD. A new world record for the artist.
The Canadian born Chinese Matthew Wong smashed into the International Art market in 2020.
His ‘River at Dusk’ painted in 2018 was offered in Hong Kong on December 3rd 2020 by Phillips in association with Poly Auctions. It made nearly 5 times its low estimate of 7 million HKD (approx. £700,000) selling for 37,760,000 HKD . Self-taught as a painter , Wong’s untimely death in 2019 at the age of only 35 has robbed us of one of the most talented painters of his generation. Therefore inevitably and tragically the number of his available works is limited.
Salman Toor, Rooftop Party With Ghosts 1 (2015). 
Salman Toor Rooftop Party wth ghosts
Salman Toor, Rooftop Party With Ghosts 1 (2015) Photo courtesy Christie’s.
Auction: Christie’s New York, December 3
Estimate: $100,000 to $150,000
Sold For: $822,000
Salman Toor, was born in Lahore, Pakistan in 1983
and lives and works in New York City
Christina Quarles, Tuckt (2016)
Christina Quarles, Tuckt
Christina Quarles, Tuckt (2016). Photo courtesy of Phillips.
Auction: Phillips New York, December 8
Estimate: $70,000 to $100,000
Sold For: $655,200
Christina Quarles was born in Chicago, IL in 1985 and raised in Los Angeles, CA. She completed her BA at Hampshire College in 2007 with a double concentration in Philosophy and Studio Arts. Christina earned her MFA in Painting and Printmaking from Yale University in 2016. She currently lives in Los Angeles, CA with her wife and two cats.
Christina Quarles is being hailed as the ‘hottest artist in America’
Pilar Corrias Gallery in London, recently sold works for as much as $200,000. In 2021 Quarles’s delayed solo show opens in Chicago, debuting dozens of paintings and sculptures.
Bernard Frize, Néoco (2004)
Bernard Friz, Néoco
Bernard Frize, Néoco (2004). Photo courtesy Sotheby’s.
Auction: Sotheby’s Paris, December 11
Estimate: $49,000 to $73,000
Sold For: $198,000
Bernard Frize was born in France in 1954 and in addition to the one above , on December 3, a painting sold for $276,000 at Phillips’s evening sale in Hong Kong, and then days later, at Sotheby’s Paris, another went for $198,000—well over its high estimate of $73,000.
Alex Gardner, Moment (2018)
Alex Gardner, Momen
Alex Gardner, Moment (2018). Photo courtesy Phillips.
Auction: Phillips New York, December 8
Estimate: $20,000 to $30,000
Sold For: $170,000
Alex Gardner is an LA based American painter, he was born in 1987
In his first ever appearance at auction, Gardner saw his 2018 painting Moment, sail past its $30,000 high estimate to sell for $170,000. As far as I can tell this is his first time out and the only pictures offered at auction so far, it certainly will not be the last !
Ayako Rokkaku, Untitled (2012)
Ayako Rokkaku Untitled
Ayako Rokkaku, Untitled (2012). Photo courtesy Christie’s.
Auction: Christie’s Hong Kong, December 2
Estimate: $45,000 to $71,000
Sold For: $306,000
In 2003, the self-taught Japanese artist Ayako Rokkaku, then just 21 won the Scout Prize at Geisei, the biannual Tokyo art fair founded by artist Takashi Murakami. Since then, Rokkaku has continued to make her manga-inspired, largely hand-painted works, which often involve cartoonish depictions of young girls.
In early December at the Christie’s Hong Kong auctions series, a signature work by Rokkaku sold for $306,000, well above its high estimate of $70,000, thus creating a new record for the artist. This record did not last long as at the the Taiwan auction house Ravenel, when The Sisters, sold for $416,000.
Kudzanai-Violet Hwami, Eve on Psilocybin (2018)
Kudzanai Violet Hwami Eve on Psilocybin
Kudzanai-Violet Hwami, Eve on Psilocybin (2018). Photo courtesy Phillips.
Auction: Phillips New York, December 8
Estimate: $30,000 to $40,000
Sold For: $252,000
Born in Zimbabwe in 1993 Kudzanai-Violet Hwami is another new young artist on the gallery and auction scene. Although only 26 at the time she was chosen as one of the four artists to represent Zimbabwe in the 2019 Venice Biennale despite the fact that she will not finish her MFA at the Ruskin School of Art until this year, 2021.
Hwami’s first auction showing was for her psychedelic Eve on Psilocybin , it was lot 1in the sale and it set a strong trend for the whole sale, multiple bidders pushed the price up to $252,000, well above the high estimate of $40,000
 

You have £5,000 to spend – David Oxtoby prints

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How Would I Invest £5,000? By CEO and Old Master Specialist, David Dallas

If my godfather left me £5,000, I wouldn’t hesitate to spend every penny buying the suite of etchings (24), which David Oxtoby produced in 1974.

Image of David Oxtoby swonderful etching

“S’wonderful”: Stevie Wonder. Signed, inscribed and dated ‘74. Published Sept 1974. Artist’s proof for an edition of 50. 3 colour etching on handmade English paper. Plate size: 165 x 142 mm

David Jowett Greaves Oxtoby is undoubtedly one of Britain’s greatest printmakers, as the show at the British Museum proved two summers ago. He was one of the notorious ‘Bradford Mafia’, a group of young Yorkshire artists, who after attending the Regional College of Art in Bradford, came to London to further their education at the Royal College of Art and The Royal Academy schools. As well as Oxtoby, the group included David Hockney, Norman Stevens A.R.A, John Loker and Mick Vaughn. Before he had left the Royal Academy schools, Oxtoby had his first one man show in New York. His was and is a prodigious talent.

By the early 1970s his hands were starting to crack, and he was told that he was allergic to the acrylic paints he was using. After taking medical advice, he took up etching and what a triumph that was. In collaboration with J.C. Editons he produced a suite of 24 immensely complicated, in some cases, 4 colour, etchings. I have the good fortune to own a set of artist’s proofs.

Image of david oxtoby the man etching

‘The Man’: Stevie Winwood. Signed, inscribed and dated ‘74. Published Sept ‘74. Artist’s proof for an edition of 50. 4 colour etching on handmade English paper. Plate size: 335 x 115 mm

In 1974 I worked for Alex Postan Fine Art and was entrusted with getting publicity for the show of etchings, which included watercolours and acrylics as well as prints. It was the easiest job I have ever had. Marina Vaizey wrote a half page review of it in The Telegraph, Bill Packer, a half page in the Financial Times and it was in the list of the 10 best things to do this Christmas in London in the Daily Express. Rod Stewart came to the private view.

Oxtoby went on to exhibit with the Redfern Gallery in Cork Street in the 70s where the private views would sell out. Elton John bought Oxtoby’s canvases in vast numbers, for prices that were somewhere between Hockney and Picasso. He is still with the Redfern.

Image of David Oxtoby and Rod Stewart

Private View at Alex Postan Fine Art, Dec 1974. David Oxtoby and Rod Stewart in front of a 5 ft high watercolour by Oxtoby. Photograph by Miki Slingsby

He has had more than 50 solo exhibitions and taken part in more than 70 group shows, yet for much of the last 30 years has lived like a recluse and kept all his latest work from public scrutiny. The result of this has had an adverse effect on the value of his work.

Oxtoby has not had the recognition for the brilliance of his draftsmanship and use of colour from the establishment that his oeuvre deserves. This seems to be because his work is inspired by popular culture, pop, rock and blues music, which is considered low brow and because he works from photographs, despite knowing subjects like Jimi Hendrix, George Harrison and Roger Daltrey well.

He was 82 in January and is not in good health. The cracked hands, which turned him into a printmaker, were actually caused by misdiagnosed diabetes. What future generations will make of his work remains to be seen, but I believe he is ready for a critical re-assessment and should take his rightful place amongst the greats of late 20th/early 21st century British art.

Modern British Sculpture Sleeper

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Known in the Art business as a ‘sleeper’ this 19 cm high, charming, and unique marble carving sold for 150 times its low estimate at Mellors and Kirk’s auction last month.

Modern British fawn sculpture
Very temptingly priced at a ‘come and buy me ‘estimate of £40-60 and intriguingly catalogued as ‘Modern British School’, this sculpture of a fawn grooming was finally hammered down at  £6,000.

The Fawn is often depicted as a mythical creature and this piece certainly bears the hallmarks of early 20th century British carving. The attribution to Modern British School, although somewhat broad, is I believe, largely accurate as the piece could be attributed to the ill-fated and short-lived artist, Henri Gaudier Brzeska, (1891-1915), who although 100% French, somehow became an honorary ‘Brit’ and an integral  part of the early dawn of the Modern British Art Movement at the beginning of the 20th century. He exhibited alongside greats such as Walter Sickert and Augustus John and is now very highly regarded as a sculptor and original work by him rarely if ever appears at auction.  If this piece is by Gaudier then it’s a particularly good buy for someone as it could be worth 10-15  times the purchase price.

Another possibility is the sculptor and first husband of Barbara Hepworth, John Skeaping (1901-1980). If by him then it is still worth more (but not hugely more – value may increase by 2 or 3 times). I do not think it is by any of the big guns of Modern British sculpture such as Henry Moore or Barbara Hepworth, at least neither of them sculpted fawns.  However it is an intriguing, good quality and well carved piece and so well worth a punt at £6,000…..

Watch this space for an update in case I hear anything more about its final attribution!